"Roam" by The B-52's

Top 10 Alert!

Gold Record Alert!

Song#:  4147

Date:  12/23/1989

Debut:  88

Peak:  3

Weeks:  20

Genre:  Pop, Rock

Pop Bits:  The B-52's scored their first Pop Top 10 hit with "Love Shack," the second single from their album Cosmic Thing. It would be a #3 gold seller that took the band to new heights of popularity. For a follow up, this next single was selected. It would basically replicate the results of their previous hit by getting to #3 and going gold (#10 Dance, #6 Modern Rock). In turn, the album would reach #4 and eventually reach the 4x platinum mark. A fourth single, "Deadbeat Club," would be a modest hit just cracking the Pop Top 30 at #30.

ReduxReview:  For this song, vocalist Fred Schneider stepped to the side and let Kate Pierson and Cindy Wilson take full charge of the song. It turned into a great showcase for their vocals and harmonies. Both singers had interesting voices, but when put together they created something unique and memorable, which when paired with Schneider made the B-52's sound. However, the two on their own were awesome and this hit proved it. This was a fun, catchy pop tune that was perfect for driving with the windows down on a warm summer day. Wherever you were headed, this song provided a wonderful soundtrack for the trip.

ReduxRating:  9/10

Trivia:  After everything wrapped up with Cosmic Thing and the associated tour, original member Cindy Wilson chose to go on hiatus from the band. The remaining trio decided to carry on and would record their next album Good Stuff with producers Nile Rodgers and Don Was. Both had produced tracks for Cosmic Thing. The LP was highly anticipated, but then the title track first single surprisingly stalled at #28 on the Pop chart (#1 Modern Rock) and that left the album stalling at #16. It would go gold, but it was a disappointment after the multi-platinum success of their previous LP. The band would have one last Pop chart entry in 1994 with "(Meet) The Flintsones," the theme song to the live action movie version of the 60s animated TV show The Flintstones. For the single, they were billed as The BC-52's. Wilson would rejoin the band soon after and they would tour and work on various projects as a group and individually. They wouldn't record another album until 2008's Funplex, which peaked at #11.

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"A Girl Like You" by The Smithereens

Song#:  4133

Date:  12/09/1989

Debut:  93

Peak:  38

Weeks:  20

Genre:  Alternative Rock, Power Pop

Pop Bits:  This band's second album Green Thoughts performed well getting to #60 thanks to three Rock Top 40 tracks including the #1 "Only a Memory." It was a good setup for their next LP 11. Switching producers to Ed Stasium (Living Colour) who gave the band a crunchier, radio-ready sound, the album got kicked off with this first single. It would become a hit at both Rock (#2) and Modern Rock (#3) while becoming their first song to make the Pop Top 40. A second single, "Blues Before and After," would make it to #7 Rock/#18 Modern Rock, but stall on the Pop chart at #94. A third single, "Yesterday Girl," would reach the Top 20 at both Rock and Modern Rock. Thanks to the success of the singles, the album would become the band's highest peaking getting to #41.

ReduxReview:  The Smithereens are a favorite of mine and it started with this song. First of all, it was a great song, but then Stasium's production really took the band to a new level. It was big, brash, crisp, and rockin'. The song hooked me from the get-go and I immediately bought the album. They'd follow it up with another great LP, '91's Blow Up. I'm glad this track made the Pop Top 40, but I wish it could have gone further. They should have had a few other hits as well. The Smithereens had a real knack of slinging out some solid power pop.

ReduxRating:  9/10

Trivia:  Double Shot!  1) Lead singer Pat DiNizio originally wrote this song for the 1989 Cameron Crowe-written/directed film Say Anything..., which starred John Cusack. DiNizio was approached by Crowe to write what would be the title song to the film. DiNizio was sent the script and based on dialog he read, he came up with "A Girl Like You," which references the film's title in the chorus. Unfortunately, it seems like Crowe and the film's producer thought the song revealed too much about the plot and asked for some lyric changes. DiNizio chose not to make the changes and decided to keep the song for him and the band. A demo version of the song would later find its way on the 2021vinyl expanded edition of the soundtrack.  2) The backing vocals on this track were performed by Maria Vidal. She had a minor hit on the Pop chart (#48) in 1984 with the theme song to the film Body Rock. A self titled debut album for A&M Records would arrive in '87, but it disappeared quickly. Vidal continue to do vocal work including on this Smithereens hit. However, it seems that she was not the original person for the job. Apparently the Smithereens and Madonna had management folks in common and Madonna was asked to do the vocal part. It seems she agreed, but then cancelled prior to the scheduled session. Another attempt was made, but Madonna became a no-show. With the Material Girl out of the picture, Vidal was secured to do the work.

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"Personal Jesus" by Depeche Mode

Gold Record Alert!

Song#:  4130

Date:  12/09/1989

Debut:  97

Peak:  28

Weeks:  20

Genre:  Alternative Rock

Pop Bits:  Depeche Mode's sixth album, 1987's Music for the Masses, became their biggest success yet in the US getting to #35 and going gold. While none of its singles cracked the Pop Top 40, two of them made the Dance Top 3 including the #1 "Strangelove." Following a world tour, the band would get back into the studio in the summer of '89 with producer Flood and the initial result was "Personal Jesus." It would be issued out as a single in the fall of '89 in the UK where it would get to #12. A US release would follow with the tune getting to #3 Modern Rock and #12 Dance while becoming their second Pop Top 40 hit. The single (mainly the 12" version) sold well enough to reach gold status. The band would continue to record and as 1990 rolled around they had their next LP Violator ready to go. A second single, "Enjoy the Silence," would become the biggest hit of their career getting to #8 Pop/#1 Modern Rock/#6 Dance and going gold. Violator would go on to reach #7 and eventually would become their best selling LP in the US going triple platinum. It also included the #15 Pop/#1 Modern Rock/#2 Dance hit "Policy of Truth."

ReduxReview:  For me, Violator was Depeche Mode at their best. It was as if everything they did before culminated in that album. It just hit all the exact right buttons and certainly helped to break them wider into the mainstream. I bought the album as soon as it came out, but before that we got blessed with this track and the brilliant "Enjoy the Silence." This song really should have gone Top 10. It just jacked up your radio when it came on. It was a slammin' track that was different from the regular Top 40 fare. I will say that I run hot n' cold with Depeche Mode albums, but Violator is solid from beginning to end. A classic for sure.

ReduxRating:  9/10

Trivia:  Double Shot!  1) Songwriter Martin Gore has said that Priscilla Presley's book Elvis and Me was the inspiration for the lyrics. However, a legendary singer/songwriter approached it in a different way. Johnny Cash recorded a stripped down version of the song for his final album prior to his death in 2003, 2002's American IV: The Man Comes Around. Cash heard the song and viewed it from a gospel angle. He loved the tune and included it on the album.  2) Thanks to the success of Violator, the band's next album, '93's Songs of Faith and Devotion, would hit #1 and quickly go platinum. Although their luck on the Pop chart faded quickly (they would only have a couple songs scratch the Top 40), they would remain successful on the Dance chart over the years collecting up a total of ten #1s (to-date). All of their studio albums from Violator through to 2017's Spirit would all make the Top 10. The highly influential band would be inducted into the Rock and Roll Hall of Fame in 2020.

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"Downtown Train" by Rod Stewart

Top 10 Alert!

Song#:  4120

Date:  11/25/1989

Debut:  54

Peak:  3

Weeks:  18

Genre:  Pop, Soft Rock

Pop Bits:  Following the double platinum success of his '88 album Out of Order, Stewart and his label decided to wrap up the decade with a career-spanning compilation album. Storyteller - The Complete Anthology 1964-1990 would be assembled and would highlight Stewart's hits and key tracks. In addition, Stewart would re-record a couple of cover tunes he had done previously along with this brand new recording, which would be issued out as a single to help promote the 4-disc box set. The song would do very well reaching #1 at both Rock and AC while spending three weeks at #3 on the Pop chart. A second single, a newly recorded version of the Isley Brothers' 1966 #12 Pop/#5 R&B hit "This Old Heart of Mine" done as a duet with Ronald Isley, would also do well getting to #10 Pop/#1 AC. (Stewart originally covered the song himself in 1975 and release it as a single, but it only got to #83 Pop.) The Storyteller box set would peak at #54, but over time would become a double platinum seller.

ReduxReview:  Stewart's cinematic Springsteen-esqe take on this song worked so well for him. It was quite different from Tom Wait's original, which had a more lo-fi, gritty arrangement. Stewart was able to transition the tune from an art rock gem into a mainstream hit. That is not an easy feat so when it gets done right on an already brilliant tune the results can only elevate the song and I think that was accomplished here. As a big Waits fan, I tend to prefer his lived in original, but I certainly like and admire Stewart's update, which gave Waits as a songwriter his lone Pop chart hit.

ReduxRating:  9/10

Trivia:  Double Shot!  1) This is a remake of a song originally written and recorded by singer/songwriter Tom Waits. It was included on his 1985 album Rain Dogs. It was released as a single, but did not chart. Several artists would record the tune including Mary Chapin Carpenter and Bob Seger, but only one other artist besides Stewart has made the Pop chart with the song. Patty Smyth's 1987 cover would be a blip on the chart at #95.  2) Stewart would continue his hit streak into the next decade. His 1990 album Vagabond Heart would spawn two Pop Top 10 hits. The first would be "Rhythm of My Heart," which would get to #5 Pop/#2 AC/#13 Rock. Written by Marc T. Jordan and John Capek, the tune was based on the Scottish traditional "Loch Lomond." The song was first recorded by Dutch singer René Shuman for his 1986 self-titled debut album. After that, Stewart would release "The Motown Song," a track he recorded with The Temptations. It would get to #10 Pop/#3 AC. That tune was also a cover. It was originally written and recorded by Larry John McNally for the soundtrack to the 1986 film Quicksilver. Stewart would earn two more major hits in 1993. First was a live version of Van Morrison's "Have I Told You Lately" from Stewart's Unplugged...And Seated album that got to #5 Pop/#1 AC and went gold. Then a song co-written by Bryan Adams and performed by him, Stewart, and Sting for the film The Three Musketeers, "All for Love," would become a #1 Pop/#4 AC platinum seller. It was Stewart's first #1 Pop hit since 1978's "Da Ya Think I'm Sexy?" Stewart would continue to record, but the hits would dwindle and albums would not sell well. Then he experienced an unexpected comeback in 2002 when he recorded an album of pop standards. It Had to Be You: The Great American Songbook struck a chord with folks and it became a #4 triple platinum hit. Over the next decade, Stewart would record four more standards albums all of which made the Top 5 with 2004's third volume getting to #1. That third set would earn Stewart his one and only Grammy (Best Traditional Pop Vocal Album). A Motown covers album and a Christmas effort would also reach the Top 5. In 2013, Stewart would release his first album of original material since 2001 with Time. It would get to #7. Stewart would be a double inductee into the Rock and Roll Hall of Fame. Once for his solo career in 1994 and then in 2012 as a member of Faces.

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"Rhythm Nation" by Janet Jackson

Top 10 Alert!

Gold Record Alert!

Song#:  4106

Date:  11/11/1989

Debut:  49

Peak:  2

Weeks:  17

Genre:  Dance-Pop, R&B, Funk

Pop Bits:  Jackson's fourth album Janet Jackson's Rhythm Nation 1814 got kicked off in a big way with its first single, "Miss You Much," quickly getting to #1 and staying there for four weeks. It would end up being a platinum seller. It was a highly successful start to what would be a record-setting run of singles from the album. While sales and chart-wise "Miss You Much" would do better, this title track second single would be the one to make a major statement. The topical tune and its associated military style video would both become iconic and help push Jackson's career into the stratosphere. The single would hit #1 at R&B and Dance while getting to #2 at Pop. It would sell well enough to go gold. By this point in time, the album had already spent four weeks at #1 and was on the verge of going double-platinum.

ReduxReview:  This was such a bad ass song and video. Jackson wanted to make a statement and she certainly did with this track. Then on the album it was the one-two-three punch of this song plus the equally effective "State of the World" followed by "The Knowledge." If Control was about independence and empowerment, then Rhythm Nation expanded to include what was going on in the world and this title track set the tone. Of course there was still some delicious dance-pop tracks like "Escapade" and the rockin' "Black Cat" to round out the set. While many folks consider this the peak of Jackson's power and creativity (and I do agree), that doesn't mean she still didn't do some interesting and adventurous work (the underrated The Velvet Rope comes to mind). However, Rhythm Nation would be her Thriller moment - hugely successful and highly influential.

ReduxRating:  9/10

Trivia:  The run of singles from Rhythm Nation 1814 would end up setting two chart records. While Jackson wouldn't be the first artist to earn seven Pop Top 10 hits from one album (her brother Michael would achieve that with Thirller as would Bruce Springsteen with singles from Born in the U.S.A.), she bested everyone by being the first (and still the only) artist to have seven Pop Top 5 singles from one album. In addition to that record, the album became the first to have three singles reach #1 in three different years. "Miss You Much" would top the chart in '89, then both "Escapade" and "Black Cat" would reach #1 in '90, and the finally "Love Will Never Do (Without You)" would get to the top in mid-January of '91. In total, Rhythm Nation would earn Jackson six Grammy nominations. The associated video album would win the Grammy for Best Music Video, Long Form."Rhythm Nation" would win an MTV Music Video Award for Best Choreography while "Love Will Never Do (Without You)" win Jackson one for Best Female Video. As of this posting date, the Rhythm Nation album has been certified 6x platinum. Her '93 follow up janet. would reach that same mark making both her biggest sellers in the US. On a worldwide scale, janet. would be her best seller at 14 million copies followed by Rhythm Nation with 12 million. Jackson would be induced into the Rock and Roll Hall of fame in 2019.

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"Free Fallin'" by Tom Petty

Top 10 Alert!

Song#:  4098

Date:  11/04/1989

Debut:  72

Peak:  7

Weeks:  21

Genre:  Rock

Pop Bits:  Petty's debut solo album Full Moon Fever had by this point peaked at #3 and was just on the verge of hitting the double platinum mark. It reached those points thanks in part to a pair of #1 Rock tracks that also make the Pop Top 30 including the #12 "I Won't Back Down." To keep things rolling along, this third single was issued out. It would become Petty's third consecutive #1 at Rock while becoming his first solo-billed single to make the Pop Top 10. It would also get to #17 AC. A fourth single, "A Face in the Crowd," would get to #5 Rock/#46 Pop while the follow up "Yer So Bad" would get to #5 Rock. All of that attention would help album sales and in March of '90 the LP would go triple platinum (5x platinum later in 2000). The LP would be nominated for a Grammy for Album of the Year while this single would earn Petty a Grammy nod for Best Rock Vocal Performance, Male. It was and remains Petty's biggest selling studio album with or without the Heartbreakers. The only LP in his catalog that would surpass everything else was the 1993 TP/Heartbreakers compilation Greatest Hits (#2) which would eventually sell over 12 million copies

ReduxReview:  It's crazy to think that when Petty first played the album for his label, they didn't like it and didn't hear any hits. Obviously, it makes you wonder what the hell they were thinking. I mean, this album opening track was just a fresh blast of warm California sun n' rock. Add to it Petty's wailing on the chorus and it was just magic. Then there was "I Won't Back Down." I mean...c'mon. Luckily, a new regime at the label heard potential in the LP and pushed it out. The album is a classic and this song iconic. It was certainly a top moment for Petty that became only his second (and final) Pop Top 10 hit following 1979's #10 "Don't Do Me Like That" with the Heartbreakers. Considering Petty's amazing catalog, that stat is pretty sad. He and the band should have had a string of Top 10s. Over at Rock, Petty, with and without the Heartbreakers, earned twenty-five Top 10 hits including ten #1s.

ReduxRating:  9/10

Trivia:  While Petty would successfully continue his day job with the Heartbreakers, over the years he would issue out two solo-billed albums. In 1994 came Wildflowers, which would reach #5, go triple platinum and earn Petty a Grammy for Best Rock Vocal Performance, Male, via the single "You Don't Know How It Feels" (#1 Rock/#13 Pop). He wouldn't release another solo album until 2006 with Highway Companion (#4 Gold). Meanwhile, Petty and the band would continue on in 1991 with the #13 double platinum Into the Great Wide Open. Other albums would follow including 2014's Hypnotic Eye, which became the band's first album to hit #1. In 2002, Petty and the Heartbreakers would be inducted into the Rock and Roll Hall of Fame. Petty would die of an accidental overdose in 2017. It was believed that the pain he was in from various health conditions including a fractured hip led him to take too much pain medication.

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"Sowing the Seeds of Love" by Tears for Fears

Top 10 Alert!

Song#:  4022

Date:  09/02/1989

Debut:  53

Peak:  2

Weeks:  15

Genre:  Psychedelic Pop

Pop Bits:  This duo's second album, 1985's Songs from the Big Chair, would be a major hit reaching #1 and eventually selling over five million copies. It got a boost from a pair of #1 hits including the gold selling "Shout." After everything for the album was wrapped up, the pair began to work on a follow up LP. They began working in the studio with a couple of producers, but things were not going well. The sessions didn't go the way the duo wanted and they chose to scrap the recordings and begin again with producer Chris Thomas, who had produced their previous album. Still, the process and results were not matching the duo's expectations. They wanted to move from the programmed approach of their previous work to something more live and band-oriented. In order to get what they wanted, the duo decided to produced the album themselves (with help from engineer David Bascombe). Nearly three years later after two false starts and a lot of money spent (around $1.5 million), Tears for Fears finally finished The Seeds of Love. This first single was issued out and it would do quite well reaching #1 at Modern Rock, #4 Rock, and #29 AC. On the Pop chart it would just miss out on the #1 spot. The hit helped the album get to #8. By the end of November, the album would go platinum.

ReduxReview:  This swirling psychedelic pop tune certainly had roots in works by the Beatles. It was an interesting and unusual choice for a lead single, but it ended up working out. The track veered off in various directions yet still maintained a sense of hooky pop. The arrangement was dense and complex, which hit all my like buttons. I loved the tune right from the first listen and ran out to get the album as soon as I could. I liked it better than Songs from the Big Chair and thought the duo hit a creative peak. While this song may not have had the longevity legs of their Top 10's from their previous album, it remains a psychedelic pop classic of sorts from the decade.

ReduxRating:  9/10

Trivia:  According to group member Roland Orzabal, he got the idea for this song from a radio show that he was listening to. The show focused on British song collector Cecil Sharp. Sharp began documenting and collecting folk songs around the British Isles sometime around 1899 after he became interested in traditional English folk dancing. While Sharp wasn't the first to start documenting old folk tunes, he became one of the most prolific collecting over 1,600 songs. He would also expand his venture over to the US where he collected songs from the Appalachia Mountain region. Although Sharp had been jotting down tunes from musicians involved with traditional dance, he didn't fully start collecting folk tunes until 1903 when he encountered a gardener by the name of John England who was singing a song called "Seeds of Love." It was this story on a radio program that sparked Orzabal's creativity and led him to start writing "Sowing the Seeds of Love."

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"The Best" by Tina Turner

Song#:  4019

Date:  09/02/1989

Debut:  77

Peak:  15

Weeks:  14

Genre:  Pop, Rock

Pop Bits:  After the highly successful tour supporting her '86 platinum #4 LP Break Every Rule, Tina Turner took a well deserved break before heading back into the studio. Work would commence later in '88 and while a couple of her previous collaborators would contribute a track or two, the majority of Turner's seventh solo album, Foreign Affair, would be produced by Dan Hartman. To kick things off, this rousing track was selected as the first single. As it climbed the chart, it seemed destined to make the Top 10, but it unexpectedly stopped shy at #15. It would also be a minor entry at AC getting to #43. The results would only provide a small boost to the LP, which would stall at #31. It was a disappointment coming off of two Top 10 albums.

ReduxReview:  Here is one of those songs that has had a longer and better life after its somewhat weak showing on the Pop chart. It would eventually become another signature song for Turner and one of her most recognizable hits. It has been used in movies, on TV shows, in commercials, and at a plethora of sporting events. When I first heard it, I thought it was going to be an easy Top 10'er. It was a big anthemic track with a positive message that everyone could relate to in some way. Yet for some reason, it fizzled early in the US. Elsewhere, the song was a Top 10 hit with the album also performing well (it was Turner's first #1 album in the UK). Why US radio and listeners said "meh" to the tune is unknown, but luckily it found a way to keep alive quite well all these years.

ReduxRating:  9/10

Trivia:  This was a cover of a song originally recorded by Bonnie Tyler. Written by the team of Mike Chapman and Holly Knight, the tune was apparently offered to a male artist that Knight was fond of, but it was rejected. The song then found its way to Tyler who recorded it for her '88 album Hide Your Heart (titled Notes from America for the US release). Desmond Child produced the album and "The Best" was issued out as the first single, but it didn't do much of anything except for a #10 showing in Norway. Since it wasn't a hit and hearing potential in the song, Turner decided to give it a go. She asked Chapman and Knight for a couple revisions including a new bridge and got it recorded. Edgar Winter provided a sax solo for Turner's updated version. Oddly, Tyler's Hide Your Heart album included a cover of a song that Turner first recorded. "Don't Turn Around" was a track that Turner recorded during sessions for her Break Every Rule album. It would not make the LP, but would be the b-side to her #2 hit single "Typical Male." Tyler would release her version as a single, but it did not chart. However, two other artists would have hits with the tune. In 1988, Aswad would reach #1 in the UK with his version (#45 US R&B). Then in 1993, Swedish group Ace of Base would get to #4 US Pop/#7 US AC/#5 UK with their version. Also on Tyler's album was the original version of "Save Up All Your Tears." Again, Tyler would release it as a single, but it would not chart. Then in 1991, Cher would cover the tune and would be able to reach #37 on the Pop chart (#16 AC).

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"Lovesong" by The Cure

Top 10 Alert!

Song#:  4001

Date:  08/12/1989

Debut:  58

Peak:  2

Weeks:  17

Genre:  Alternative Rock

Pop Bits:  The Cure kicked off their eighth album Disintegration with the single "Fascination Street." It was a big hit at Modern Rock spending seven weeks at #1. That attention helped the song cross over to the Pop chart where it peaked just outside of the Top 40 (#46). To follow it up, this next track was selected. It would result in a somewhat unexpected smash hit for the band becoming their first and only single to crash the Pop Top 10 nearly topping the chart. It also got to #2 Modern Rock, #8 Dance, and #27 Rock. Although the album had already peaked at #12 in June, this hit helped album sales and in October it would be certified platinum. The Cure went from being a popular cult band to a major mainstream act thanks to the success of this single.

ReduxReview:  Filled with riffs and hooks, this became an instantly memorable song. The quiet groove and Robert Smith's plaintive vocal set an emo-goth tone that was still relatable and radio-friendly. Add to that a popular MTV video and this song was bound to go Top 10. While The Cure have had other songs that were certainly Top 10-able (but somehow didn't get there), this seemed to be the one that a larger swath of folks took to. Surprisingly, the song was only a major hit in the US. In their UK homeland it only got to #18 while faring even worse in other European countries. Luckily for The Cure, it was the right song at the right time to break them through in the US in a big way.

ReduxRating:  9/10

Trivia:  Double Shot!  1) Band leader and songwriter Robert Smith wrote this tune as a wedding present for his soon-to-be wife Mary Poole. The pair were married in 1988. They had met in a drama class while in their teens. Fifteen years later, they would finally tie the knot.  2) Several artists have covered this song, but thus far only one has been able to reach the Pop chart with a version. The alt rock band 311 was commissioned to cover the tune for the 2004 Adam Sandler/Drew Barrymore rom-com 50 First Dates. Released as a single, the band's version would reach #59 Pop/#1 Alt Rock. The soundtrack album consisted of 80s cover tunes mainly done in a reggae style. It would reach #30 and go gold. The film received mixed reviews, but was a box office hit. Singer/songwriter Adele notably covered "Lovesong" for her Grammy-winning 2011 album 21. While it was not released as a single, her string-laden version became a popular album track that got to #18 on the Smooth Jazz chart.

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"In Your Eyes" by Peter Gabriel

Song#:  3903

Date:  05/20/1989

Debut:  87

Peak:  41

Weeks:  14

Genre:  Rock,  Soundtrack

Pop Bits:  In '86, Gabriel hit #1 with "Sledgehammer," the first single from his album So. For a follow-up, the track "In Your Eyes" was issued out. It would perform fairly well at Pop reaching #26. It would do far better at Rock where it got to #1. That might have been it for the song, but then filmmaker Cameron Crowe sought Gabriel's permission to use the tune for his teen rom-com Say Anything... The movie starred John Cusack and Ione Skye and Gabriel's song was to be used for a pivotal scene. Following the film's mid-April of '89 release, it received mixed-to-positive reviews and did just okay at the box office. However, the scene that used Gabriel's song got a lot of attention and it sparked new interest in the track. The single got reissued and it would end up back on the Pop chart. On its second run, the song nearly made the Top 40 for a second time, but halted just shy at the dreaded #41 spot. The film's soundtrack album would end up getting to #62. Say Anything... would gain a bigger audience after its initial theater run and the Romeo and Juliet-style balcony scene where Cusack's character holds a boombox over his head that is blasting Gabriel's song has become an iconic film moment. The song has remained popular enough over the years that in 2005 the digital version of it would earn Gabriel a gold record.

ReduxReview:  I loved this song when it first came out, but it didn't quite catch on in a big way. So when the tune got attention due to its use in Say Anything..., I was happy that it was getting a new lease on life. But who could have predicted that it and the scene would become so iconic? The two will be tied together forever and that's not a bad thing. The song continues to be popular and has become one of Gabriel's most recognizable tunes. Just the fact that in the new digital age it would go gold says quite a bit. To-date, no other songs from Gabriel has achieved that feat. Props have to go to Cameron Crowe for selecting the song and making it work so well in the film.

ReduxRating:  9/10

Trivia:  Double Shot!  1) Gabriel's song wasn't Cameron's first choice for the scene. Initially he had wanted to use Billy Idol's 1986 #6 hit "To Be a Lover." But after pairing the song with the scene, Cameron realized that it didn't really work. Needing a new tune, Cameron just happened to be listening to a tape from his wedding and Gabriel's song popped up. That spurred him to reach out to Gabriel for permission to use it in the film. Apparently, folklore has it that Gabriel wanted to see a cut of the film before giving the go-ahead. He was sent a copy and after seeing the rough cut, thought it would be fine, but in talking with Crowe he was concerned about the main character's overdose at the end. It was then that they discovered Gabriel was sent a copy of the John Belushi biopic Wired instead of Say Anything...  2)  After a six-year absence, Gabriel returned in 1992 with his follow-up to So, the equally short titled Us. It would reach #2 and go platinum despite not having a significant Pop chart hit. The best result from the LP was the #32 "Steam" (#2 Rock, #1 Modern Rock). It also featured the #1 Rock/#1 Modern Rock hit "Digging in the Dirt," which could only get to #52 Pop. It would be a decade before Gabriel would release a new studio album (2002's Up, #9).

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"I Drove All Night" by Cyndi Lauper

Top 10 Alert!

Song#:  3890

Date:  05/06/1989

Debut:  60

Peak:  6

Weeks:  15

Genre:  Pop

Pop Bits:  By this point in time, Lauper had two multi-platinum albums to her credit along with seven Pop Top 10 hits. Everyone was waiting to hear what the mistress of quirk would do with her next album and in the spring of '89 Lauper gave them A Night to Remember. This first single kicked things off and it would go on to become her eighth Pop Top 10. It also made a brief appearance at AC getting to #43. While the song would prove to be a memorable hit for her, it didn't really do the job in promoting sales of the album. A week before this song would make the Top 10, the album would hit its peak of #37. It was also not approaching the gold level sales mark, which was a big disappointment coming off of two albums that quickly went gold and eventually multi-platinum.Unfortunately, this single would end up being Lauper's last to reach the Pop Top 40. On the bright side, the song would earn Lauper a Grammy nomination for Best Rock Vocal Performance, Female.

ReduxReview:  I loved this song when it came out. I thought it was a more mature song for Lauper and it fit her well. The arrangement and production were great and the build up bridge to the chorus was so good (and very Orbison-like, which was intended - see below). I also like Lauper's vocal delivery. It showcased her voice in a new way and she gave a more restrained performance that really fit the tune. It was a song that was perfect for a windows rolled down night time summer country drive. It really should have made it to #1. A Night to Remember was maligned by critics and it wasn't a favorite of Lauper's either as she later dubbed it A Night to Forget. However, I was one who really like it. I thought the majority of the tracks were quite strong and it helped move Lauper away from some of the goofiness found on her previous effort. The album got a little sluggish in the last few tracks, but I still count it as one of my favorite Lauper works. It deserved a better fate.

ReduxRating:  9/10

Trivia:  Double Shot!  1) While Lauper was the first artist to release this song, she was not the first to record it. Written by Billy Steinberg and Tom Kelly, the tune was originally pegged for Roy Orbison. When Orbison began working with ELO leader Jeff Lynne in 1987, this song was one they recorded for a new Orbison solo LP. However, work on the album got interrupted when The Traveling Wilburys project suddenly came up. Lynn and Orbison would finally finish the album Mystery Girl late in '88, but "I Drove All Night" was not included. Whether or not that was due to Lauper picking up the tune is unknown, but it seems likely. Orbison would unexpectedly pass away near the end of '88 and Mystery Girl would receive a posthumous release (#5, platinum). Orbison's version of "I Drove All Night" would first get released on a 1991 compilation titled Nintendo: White Knuckle Scorin'. Then in '92, an album of demos and other recordings by Orbison was put together and titled King of Hearts. "I Drove All Night" would be included on the LP and would be issued out as a single. It wouldn't chart, but King of Hearts would get to a minor #179. A decade later, Celine Dion would cover the tune for her 2003 album One Heart. It would be released as a single and get to #45 Pop/#7 AC/#2 Dance. Dion recorded the tune for a Chrysler car ad campaign and she also appeared in a commercial. However, with the song not doing well on the Pop chart and the ad not seeming to spur sales, Chrysler put a halt to the campaign.  2) A Night to Remember was actually Lauper's second attempt at a third album. Originally, she had prepared an album titled Kindred Spirit. It featured ten tracks including "Hole in My Heart (All the Way to China)," which was done for Lauper's 1988 film Vibes and released as a single. However, after that single tanked (#54) and the film became a box office bomb, Kindred Spirits was put on hold. It would then be reworked into A Night to Remember. Eight tracks from Kindred would be remixed for the new album with two songs being dropped including "Hole in My Heart." Three new tracks would then get added. The finished LP would get released nearly a year after Lauper's unfortunate misstep with Vibes.

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"Coming Home" by Cinderella

Song#:  3858

Date:  04/08/1989

Debut:  92

Peak:  20

Weeks:  17

Genre:  Hard Rock, Glam Metal

Pop Bits:  By this point in time, Cinderella's second album Long Cold Winter had hit the double-platinum mark and spawned three Pop chart entries including the #12 "Don't Know What You've Got (Till It's Gone)" (#10 Rock). The band's label decided to go for a fourth single and chose to release this power ballad. It clicked on MTV and radio with the song getting to #13 Rock and just making the Pop Top 20. While the hit would help sell a few more albums, it would take nine years before it would get bumped up to triple-platinum status.

ReduxReview:  Back in the day I didn't get into hair bands. There were a few minor exceptions and Cinderella was one of them. They were not like Poison, Warrant, or Mötley Crüe who were known for their bad behavior and raucous and/or sex-drenched party anthems. Cinderella took their glam metal in a different direction adopting a more bluesier sound via bands like Aerosmith and the Rolling Stones. Their songs were more thoughtful as well and they avoided wink-wink, nudge-nudge sex stuff like "Cherry Pie." This was my favorite song of theirs. It was a well-written power ballad that had different sections that stood out on their own. I especially like the bridge with the addition of the piano and the soaring outro with the "I'm on my way" background vocals. It should have gone Top 10. Their swampy 1990 single "Shelter Me" was also another winner and should have done better. Cinderella did well and sold millions of albums, but I've always thought they were underrated and unfairly lumped in with the party bands like Poison.

ReduxRating:  9/10

Trivia:  The band would return in 1990 with their third album Heartbreak Station. Incorporating even more blues-oriented rock, the LP would be a #19 platinum seller that featured a pair of Rock Top 10s, the #5 "Shelter Me" (#36 Pop) and the #10 title track (#44 Pop). Unfortunately, in '91 lead singer Tom Keifer experienced vocal chord issues that led to surgical repair. The long recovery time kept the band from releasing a new album until '94. By that time, the rock music landscape had significantly changed. Hard rock/glam metal was no longer in fashion and that left Cinderella's fourth album Still Climbing flopping at a minor #178. The results left them off the Mercury Records roster. After a break, the band would get back to touring and would even sign on with another label, but things went sour and they wouldn't be able to record a new album. They would continue to tour over the years and would cap off their career with final performances in 2014.

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"Similar Features" by Melissa Etheridge

Song#:  3856

Date:  04/08/1989

Debut:  94

Peak:  94

Weeks:  4

Genre:  Rock

Pop Bits:  This singer/songwriter from Kansas learned guitar at an early age and was playing in country bands during her teens. She would go on to attend the Berklee College of Music in Boston and while there began to hone her songwriting and performance skills. After several semesters at the college, Etheridge would take a leap of faith and move out to L.A. in search of a music career. She eventually secured a manager and kept on performing at various venues. An Island Records exec caught one of her shows and got Etheridge signed to the label. A self-titled debut album got recorded and the scorching "Bring Me Some Water" was pushed as the first single. It would end up reaching #10 at Rock. A second single, "Like the Way I Do," would get to #28 Rock. Then this third single would be her best effort yet getting to #6 Rock while cracking the Pop chart for a short month. Despite not having a significant hit on the Pop chart, good airplay on rock radio and word of mouth helped Etheridge's debut album get to #22 and go gold (over time it would turn double-platinum). She would also earn her first Grammy nomination for Best Rock Vocal Performance, Female, for "Bring Me Some Water."

ReduxReview:  I remember walking into a used record shop and when going through their newer releases bin came across Melissa Etheridge. That red cover with Etheridge decked out in leather with spiky hair and a pose that looked both defiant and pleading got my attention. More than that was a sticker that the record shop put on it that said "new, different, and interesting." I had sort of heard about Etheridge, but hadn't heard her music yet. Obviously, it was something I was meant to get and I bought the album. "Similar Features" and its dark, slinky groove and awesome lyrics certainly set a mood and got my attention. By the time the third track "Like the Way I Do" ended, I was in full-on fan mode. The LP quickly became a favorite. It was intense, passionate, and really unlike anything that was coming out at the time. Etheridge would go on to do some great work and even finally break into the Pop Top 10, but for me she never really recaptured the spirit and brilliance of her debut.

ReduxRating:  9/10

Trivia:  When work began on a debut album, the label had assigned Etheridge engineer/producer Jim Gains (Huey Lewis, Journey, Bruce Hornsby). Being her first big time recording project, Etheridge let Gains run things and he produced her tracks in a big, layered, arena rock way. His style perhaps wasn't what she thought of for her songs, but Gains had a track record of hits, so she went with it. When the LP was finished, it got handed over to the label the exec who found and signed Etheridge, Chris Blackwell. Unfortunately, he didn't like it at all. It didn't represent the artist he saw in the club. Etheridge thought she may have missed her shot, but then she and the musicians who had formed her studio band told Blackwell they could do better and find the more raw/live sound he wanted if they were give a chance to redo the record. Blackwell agreed and over a grueling four days, the team cut the album again, this time with engineer/producer Niko Bolas. The results were exactly what Blackwell and Island was looking for and the album was slated for release. The redo was a good choice as it would go on to sell over two million copies.

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"Buffalo Stance" by Neneh Cherry

Top 10 Alert!

Gold Record Alert!

Song#:  3853

Date:  04/01/1989

Debut:  83

Peak:  3

Weeks:  24

Genre:  Hip-Hop, Dance-Pop, Freestyle

Pop Bits:  This Swedish-born singer/songwriter would spend part of her childhood in Sweden and then part in the US when her family made a move. However, in her mid-teens Cherry dropped out of school and moved to London. Once there, she became immersed in the city's punk rock scene and began to perform and record with several bands. She also became involved with the influential Ray Petri-led fashion/design house called Buffalo and it was through that collective that she met musician/model (and future husband) Cameron McVey. The pair would begin to collaborate and after McVey's attempt to kick off a music career (see below) didn't pan out, the focus turned into launching Cherry's solo career. Virgin Records would give Cherry a chance and an initial single, "Buffalo Stance," was worked up and issued out late in '88. It took off in the UK and made it to #3. Meanwhile, the song got pushed over to the US and it rapidly moved up the Dance chart and by the end of April it would reach #1. A few weeks before that, the tune crossed over to the Pop chart. It would make a steady climb finally peaking at #3. The single would sell well enough to reach gold status. The hit prompted an album to be assembled and it would be released a couple weeks prior to "Buffalo Stance" reaching its peak on the Pop chart.

ReduxReview:  This was another one of those singles that I bought on a whim without hearing it. The title intrigued me and I knew there was a buzz about the tune. I wasn't disappointed. It was a genre-bending, swirling dance track that felt more 90s than 80s. The highlights were aplenty with Cherry's rap and sung portions creating their own hooks alongside that indelible keyboard lick. It was a cool track with attitude that sounded a bit futuristic at the time. I was hoping it would become a big hit and indeed it did.

ReduxRating:  9/10

Trivia:  This song is not necessarily a cover, but more of a reworking of a track that Cherry had previously recorded in '87. Buffalo members Cameron McVey and photographer/musician Jamie Morgan decided to launch a music career together. Their concept was to do vocal harmonies over reggae beats. Their demos got the attention of Sony Records, who signed up the duo for a one-off single to see what would happen. The new duo initially floundered a bit so Sony chose to hook them up with the famous production team Stock Aitken Waterman (Bananarama, Rick Astley). The team along with McVey and Morgan got the tune "Look Good Diving" recorded. A video for the song was then made that featured Neneh Cherry playing guitar and another Buffalo co-hort and soon-to-be famous model Naomi Campbell on keyboards. The single was released under the name Morgan|McVey, but it ended up flopping. It disappeared quickly as did the partnership. However, the b-side of the single would later provide Cherry with an international hit. Cherry would collaborate with Morgan and McVey on an altered version of their song titled "Look Good Diving with the Wild Bunch." On it, Cherry would be featured rapping and singing. The new lyrics included the phrase "buffalo stance," which was sort of a shout-out to the Buffalo collaborative and also to a certain model pose. The song also featured The Wild Bunch, which was a DJ collective that included future star producer Nellee Hooper (Bjork, Madonna, Gwen Stefani). Other members of The Wild Bunch would later go on to form the influential trip-hop group Massive Attack. The b-side slated track was done and that seemed to be the end of it. Flash forward a couple years to when Cherry was starting work on her solo album with McVey. McVey happened to go into a local club where DJ Tim Simenon (aka Bomb the Bass) was working. Simenon saw McVey and started talking to him about the b-side to the Morgan|McVey single. He loved it and asked if he could rework it with Cherry. They all got together and reformed the track into "Buffalo Stance." When done, Cherry and McVey realized they had been sitting on a hit for years and didn't know it. The track was then pushed out as a single and it became an international success.

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"Cult of Personality" by Living Colour

Grammy Alert!

Song#:  3830

Date:  03/11/1989

Debut:  77

Peak:  13

Weeks:  15

Genre:  Hard Rock, Alternative Rock

Pop Bits:  This band first began to take shape in New York City around 1984. London-born musician Vernon Reid had been working in drummer Ronald Jackson Shannon's avant-garde/funk jazz outfit for a while before taking the initiative to start his own band that was initially titled Vernon Reid's Living Colour. Both the goup's personnel and sound would evolve over a couple of years until a steady lineup that included vocalist Corey Glover was set in '86. The band's hard rock/funk metal sound got them noticed as did their live shows. However, record companies were not interested. It seems they all thought that an all-black hard rock band was too hard of a sell. In a good/bad way, the band ended up getting a bit of a leg up thanks to a music superstar who had a little clout - Mick Jagger. Through a connection, Jagger was familiar with Living Colour and decided to check them out at a gig at the famed CBGB's club. Jagger liked what he heard and ended up producing two demo tracks for the band. Yet even with Jagger's backing, labels were still leery about signing the band. Finally, Epic stepped up to the plate and gave them a shot. With producer Ed Stasium, Living Colour recorded a debut album titled Vivid, which also included the two Jagger tracks. For this first single, the label decided to put money behind an attention-getting video and to make sure MTV was on board (rumor has it that someone at Epic threatened to withhold the video for Michael Jackson's "Smooth Criminal" unless they played "Cult of Personality" - perhaps not true but there was wrangling involved to the the video on the channel). The tactic worked and soon people were picking up the single and the album. The song would peak at #9 Rock while getting close to the Pop Top 10. In turn, the album would soar up to #6 and by mid-April would go platinum.

ReduxReview:  This jam grabbed my attention big time. From the speech snippets to the crunchy hard rock sound to the guitar licks to Glover's big voice to the jazz-funk influence to the potent lyrics to the screaming guitar solos, this track came on the radio and MTV like a wrecking ball. I went right out and bought the CD and cranked it to 11. The track still sounds just as good and as relevant as it did back in the day. The album still resonates as well.

ReduxRating:  9/10

Trivia:  Double Shot!  1) This song would earn Living Colour their first Grammy. They would win the award for Best Hard Rock Performance. They would earn their second Grammy later on when their second album, 1990's Time's Up, would win in the same category.  The video for "Cult of Personality" would win three MTV Music Video Awards including one for Best New Artist.  2) The term "cult of personality" first came about in a 1957 speech given by Soviet Union Communist Party leader Nikita Khrushchev. It basically refers to the lionization of a leader, usually a political figure. To enhance that theme, Living Colour included recorded quotes by famous leaders. At the beginning of the song, a portion of Malcolm X's 1963 speech "Message to the Grass Roots" is heard. Later on, perhaps the most famous portion of John F. Kennedy's 1961 inaugural speech is heard. Then at the end, another very famous section of an inaugural address is used. This time from Franklin D. Roosevelt's 1933 speech.

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"The Look" by Roxette

#1 Alert!

Gold Record Alert!

Song#:  3801

Date:  02/11/1989

Debut:  50

Peak:  1 (1 week)

Weeks:  19

Genre:  Pop, Rock

Pop Bits:  This Swedish duo of Per Gessel and Marie Fredriksson were having some success individually before joining forces as Roxette. In the early 80s, Gessel scored four #1 albums in Sweden with his band Gyllene Tider along with a Top 10 solo album. Fredriksson had a Top 20 album and single to her name. During this time, the pair knew each other and that led to Fredriksson doing some background vocals for Gyllene Tider. The band's run of #1 albums for EMI Records caught the attention of US sister label Capitol. That potential to expand into a broader worldwide market prompted the band to record their first English language album, The Heartland Café (#4 Sweden). Capitol would grab six of the LP's tracks to create an EP for US release. However, they requested the band change their name and they came up with Roxette. The EP and singles in the US failed to get any attention, so Gessel put the band on hiatus and recorded a solo album. Meanwhile, Fredriksson recorded a solo album that got to #6. Both artists were on EMI and an exec there suggested they work together. The duo decided to give it a shot. Retaining the Roxette name, they released the one-off single, "Neverending Love." It became a #3 hit in Sweden. The success led to the duo's first album, 1986's Pearls of Passion, which made it to #2. Fredriksson then recorded another solo album in '87 that got to #1. In '88, the pair worked on a second Roxette album titled Look Sharp! It was an instant success in Sweden getting to #1 thanks to a pair of Top 3 hits. EMI had no intentions of pushing Roxette elsewhere, but things changed when an American exchange student who was in Sweden bought The Look and took it back home to Minneapolis. He handed it over to a local radio station and they began to play "The Look." Listener response was extremely positive and the song started to spread. News of the song's success made it back to EMI who then decided to issue out the single in the US and other countries. The song caught on quickly and it ended up topping the US Pop chart (#47 Dance). It would become a gold seller. The hit then prompted EMI to issue out the album as well.

ReduxReview:  With its big snare sound and jangly guitar lick, this song was instantly indelible before the vocals even kicked in. The production was immaculate and there were hooks all over the place. There are even la la's and na na's incorporated. What more could you want from a pop song? Gessel certainly had the talent to write catchy, concise pop tunes that had wide appeal and this first US hit from the duo showed off his skills.

ReduxRating:  9/10

Trivia:  Double Shot!  1) With "The Look" hitting #1, Roxette became the third Swedish act to reach the top of the Pop chart. Blue Swede did it first in 1974 with "Hooked on a Feeling." Then in 1976 ABBA became the second with "Dancing Queen." Ace of Base would follow Roxette in 1993 with "The Sign." In the years following, there was a Swedish invasion of sorts. While some artists would break through, it was the songwriters and producers from Sweden that were scoring hits left and right. Max Martin would be one of the most prominent songwriters/producers from Sweden. Between 1998 and 2021, he had written or co-written 25 song that reached #1 on the US Pop chart. He has worked with Britney Spears, P!nk, Katy Perry, Maroon 5, Taylor Swift, Justin Timberlake, and The Weeknd just to name a few.  2)  The band name Gyllene Tider translates as "Golden Times." While that name probably rolled off the tongue well in Sweden, Capitol Records didn't think it would do the same in the US and requested the band get a new name for the market. They settled on Roxette. The name came from a somewhat obscure song from an English pub rock band of the 70s named Dr. Feelgood. The band's blues-rock/R&B sound made them popular on the pub circuit and that led to a contract with United Artists. The first single from their 1975 debut album Down By the Jetty was "Roxette." Both the single and album failed to chart. The band's second album did better, but it was their live third album Stupidity that proved to be their breakthrough. It would reach #1 in the UK. A live version of "Roxette" was released as a single and it got to #53. A follow-up album would reach #10 while they would score their biggest hit in 1979 with the #9 "Milk and Alcohol." The band's chart fortunes dwindles in the 80s, but they continued to successfully tour. The band would nearly stop in 1994 following the death of lead singer Lee Brilleaux. However, a new era of the band would start the following year.

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"Handle with Care" by The Traveling Wilburys

Song#:  3699

Date:  10/29/1988

Debut:  83

Peak:  45

Weeks:  14

Genre:  Folk-Rock

Pop Bits:  This supergroup was made up of five legendary musicians; George Harrison, Jeff Lynne, Tom Petty, Bob Dylan, and Roy Orbison. Although the formation of the band came about from a spontaneous moment, the roots of it came about when Lynne was producing Harrison's '87 #8 platinum album Cloud Nine and Harrison suggested that he and Lynne start a band and both making suggestions of who they would include. After Cloud Nine was finished, Harrison's label asked for another new song that they could use as the b-side to the planned single "This Is Love." While dining with Lynne and Orbison (Lynne was producing a few tracks Orbison's '89 LP Mystery Girl), Harrison asked if Lynne would help with recording a tune. Lynne said he could the next day if they could find a studio and Orbison added that he wanted to go along to watch. Dylan's home studio was available, so the trio went over and hooked up with Dylan. Lynne had also been working with Tom Petty at the time, so Petty came by as well. It didn't take long for all five stars to start collaborating on a song that Harrison had already sketched out. The resulting song "Handle with Care" was finished and handed over to Harrison's label. After hearing the tune, the label heads thought it was way too good to be relegated to the back of a single and wanted to do something else with it. They pitched the idea of doing a full album to Harrison who bit and went off to see if the other four would be interested. In the spring of '88, the quintet assembled and collaborated on a project that would be titled The Traveling Wilburys, Vol. 1. When completed, the song that brought them together, "Handle with Care," was selected as the first single. It would do well at Rock reaching #2. The tune would cross over to Pop, but it stalled short of the Top 40. Still, the collaboration of the five music stars was irresistible to many and the album would become an immediate hit reaching #3. It would also go on to with the Grammy for Best Rock Performance by a Duo or Group with Vocals.

ReduxReview:  This is one of those songs that I thought for sure was at minimum at Top 20 hit. I just remember the tune being a lot bigger than a minor #45 entry. Maybe I thought that because I heard it a lot on rock radio at the time. When the song first came out, I liked it but didn't really give it a lot of attention. Its retro folk-rock sound wasn't in my wheelhouse then so I kind of listened in an appreciative way and moved on. These days I love the tune along with the album. The five superstars really did collaborate and make something special. You can hear the guys having a ball and not taking anything too seriously. Although Lynne's production gives it a high sheen polish, it all still feels organic with the guys writing and playing as if they were from a different era. Of course "Handle with Care" is a standout with my favorite part being when Orbison comes in. It peaked at #45, but it really should have been a Top 10'er.

ReduxRating:  9/10

Trivia:  When trying to come up with a name for the band, Harrison and Lynne decided to adopt a term they had been using in the studio. Referring to problems from some studio equipment, they began to say "we'll bury 'em in the mix." Using the phrase often, they just decided to call the issues "wilburys." From there, Harrison came up with The Trembling Wilburys, but the Lynne adjusted it to The Traveling Wilburys. Following that family-styled name, the band then went on to create a sort of fake story/persona in which the Wilburys were half-brothers. Each person then got a name such as George Harrison becoming Nelson Wilbury. Basically, the superstars hit behind the names, even though it was obvious who they were, with the credits in the album under their new pseudonyms. All being fans of Monty Python, they even got Michael Palin to write a fictional story about the Wilbury brothers.

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"My Prerogative" by Bobby Brown

#1 Alert!

Gold Record Alert!

Song#:  3690

Date:  10/22/1988

Debut:  78

Peak:  1 (1 week)

Weeks:  24

Genre:  R&B, New Jack Swing

Pop Bits:  Brown's lead single and title track to his second album Don't Be Cruel made it to #8 Pop and #6 R&B. It was the song that broke the singer into the mainstream as a solo artist. This next single would then make him a major star. "My Prerogative," written by Terry Riley and Aaron Hall along with Brown, would take off at R&B and reach #1. The week after the song hit the top spot at R&B, it debuted on the Pop chart. It would steadily climb until finally peaking at #1. The tune would also reach #7 at Dance. The single would sell well enough to go gold. It would end up as the #2 single for the 1989 charting year. The hit would then send the album to #1 on the Pop chart in January of '89. It would spend six non-consecutive weeks at the top.

ReduxReview:  Defiant and full of attitude, this grinding new jack classic became Brown's signature song and rightly so. The tune's beat was fierce and there were hooks a-plenty. I wasn't really into Brown at the time, but I did recognize that this was a terrific song and I bought the single. It really should have spent more time at #1, but it got blocked from the top spot by Poison's "Every Rose Has Its Thorn." It was easily Brown's best moment and was his biggest hit on the Pop chart.

ReduxRating:  9/10

Trivia:  This was one of the last songs recorded for the LP. After initial sessions with L.A. Reid and Babyface were finished, Brown felt that he needed a tougher song to help set the tone of the album. At the time he was still trying to distance himself from the teen idol/bubblegum R&B of New Edition and he was looking for something that would move him in a more hip and mature direction. He met up with Teddy Riley in New York who had already been working on this track with Aaron Hall. It was what Brown was looking for and he came on board to finish the song. In addition to the tune's aggressive new jack sound, the lyrics were a statement of independence. It addressed Brown's detractors who thought he was crazy to leave New Edition and others who dumped on him for his personal choices. It was sort of a companion piece to Janet Jackson's "Control." The song did its job certifying Brown as a solo star and as a leader in the new jack swing sound.

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"In Your Room" by The Bangles

Top 10 Alert!

Song#:  3684

Date:  10/15/1988

Debut:  73

Peak:  5

Weeks:  20

Genre:  Psychedelic Pop, Rock

Pop Bits:  The Bangles had been on a roll since releasing their second album, 1986's Different Light. That triple-platinum #2 effort spawned a pair of Pop Top 10 hits including the #1 "Walk Like an Egyptian." They followed the album up with a one-off single from the Less Than Zero soundtrack, "Hazy Shade of Winter," which became their third Pop Top 10 getting to #2. After that hit, the band went back into the studio to record their third LP. For Everything, they chose to work with producer Davitt Sigerson and when completed, this first single was issued out. Written by band member Susanna Hoffs along with hit makers Tom Kelly and Billy Steinberg, the song took a leisurely climb up the Pop chart finally peaking at #5. The tune would also reach #5 on the Alt Rock chart. It was a good way to kick off the album.

ReduxReview:  This swirling piece of psychedelic pop complete with sitar, tympani, and Middle Eastern-influenced synth-string fills that cascade at the end, was right up my alley. I loved it from the first listen and thought it was their best song to-date. While I'm not sure I'd rank it #1 now, I still absolutely adore the tune. It is a lot of fun and the retro 60s feel to it still rings true. I also like the original video for the song, which played up the tune's psychedelic mood. It was well-written and slickly produced and deserved its Top 10 status.

ReduxRating:  9/10

Trivia:  One song on Everything was titled "Glitter Years." It was written by band member Michael Steele and David White. It has been mentioned that Steele's inspiration for the song was her days with the all-female band the Runaways. That band was originally formed as a trio in 1975 with Steele, Joan Jett, and Sandy West. Unfortunately, Steele's time in the band was short as she ended up getting fired. Later in '75, the classic lineup of Jett, West, Lita Ford, Jackie Fox, and lead singer Cherie Currie was solidified. Since Steele's time in the Runaways was quite brief, it is a little doubtful that "Glitter Years" was about being in the band. The more likely scenario is that the song was a paean to the glitter/glam rock of the late-60s and early-70s, which was typified by such artists as David Bowie, Marc Bolan, and Roxy Music. The song even references some of the fashion from glam rock including the main character Denny being "dressed like a working girl from outer space." Then to top it off, near the end is someone who sounds like Bowie, which points to Steele being inspired by him and other artists of that glam period.

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"Peek-A-Boo" by Siouxsie and the Banshees

Song#:  3679

Date:  10/15/1988

Debut:  92

Peak:  53

Weeks:  14

Genre:  Alternative Rock

Pop Bits:  Siouxsie Sioux (real name Susan Ballion) first started to gain attention when she and her friend Steven Severin saw a Sex Pistols show in London early in 1976. What the band was doing attracted them to the point where they followed and befriended the band. It wasn't long before Sioux and Severin decided to start their own band. Over the next couple of years, the band honed their skills and gained a sizable following. Although they had appeared on TV and even did a session with famed BBC DJ John Peel, record companies were either not interested or wanted to control the group. Finally, Polydor came along with an offer that suited the band and not long after signing with the label, they released their first single, 1978's "Hong Kong Garden." It became a big success reaching #7 in the UK. A debut album titled The Scream quickly followed. The critically acclaimed influential LP got to #12 in the UK. They followed that success with a series of LPs that all did well in the UK, but failed to do much of anything in the US. Their 1985 album Tinderbox broadened their audience a bit in the US with the track "Cities in Dust" getting to #17 on the Dance chart. After a covers LP, the band came back in '88 with Peepshow. It showcased some new sounds and was once again well-received by critics. The album's first single, "Peek-A-Boo," got a lot of attention at alternative/college stations and that plus some coverage on MTV led to the song becoming their first to reach the US Pop chart. It would get near the halfway mark while also getting to #14 Dance. It was enough to drive the album to #68, which was their best showing to-date. It took ten years, but Siouxsie and the Banshees were finally flirting with mainstream success in the US.

ReduxReview:  I got hooked on this song about 10 seconds after first hearing it. The reversed backing track along with the keyboard flute/woodwind riff got my attention immediately. The tune only progressed from there with the addition of Siouxsie's unmistakable voice and, of course, the accordion. It also helped that the song was catchy as hell. It was all fun, unusual, and even a little creepy in a sideshow kind of way. I ran out and got the single and then later the album, which was brilliant. I had heard of the band before this single, but never explored them. They were definitely not your typical mainstream band and their earlier LPs were an acquired taste, at least for me. Peepshow saw the band hitting their stride with more accessible tunes for the mainstream, but they were not selling out. It was just yet another side of the Banshees and I loved it. This single should have easily made the Top 40 and I was so disappointed when it stopped short. Both the song and album are still awesome.

ReduxRating:  9/10

Trivia:  Triple Shot!  1) On September 10, 1988, Billboard magazine introduced their latest chart. Titled Modern Rock Tracks, the 40-slot list tallied the most played songs on modern/alt rock and college radio stations. The first #1 song on the new chart was Siouxsie and the Banshees' "Peek-A-Boo." It would stay there for two weeks. The band's follow up single "The Killing Jar" would later nearly top the chart getting to #2. In 2009, the chart would change names to Alternative Song. Then in 2020 it would change again to Alternative Airplay.  2) A lyrical passage in the song ended up causing a bit of a headache for the band. The line "Golly jeepers, where'd you get those weepers? Peepshow, creepshow, where did you get those eyes?" seemed just a bit too much of an infringement of the old 1938 standard "Jeepers Creepers." That song was written by Harry Warren and Johnny Mercer and first appeared in the '38 movie Going Places. It would go on to get an Oscar nod for Best Original Song. When Siouxsie's song came out, Warren and Mercer were dead, but the estates took notice and thought the band was a bit too liberal in taking lyrics from the original song. To avoid any legal action, the band opted to add Warren and Mercer as composers to the song's credits.  3) The unusual sound of the track came via another recording from the band. For their previous album of covers, 1987's Through the Looking Glass, they covered the John Cale song "Gun." At a point during the recording of that song, producer Mike Hedges on a whim turned the tape upside down and played it. The sound was so cool that the band decided to try and create another song from it, which became "Peek-A-Boo." Originally they though it could be a b-side to a single, but as the song developed they thought it was too special for that and saved it for Peepshow.

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